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84
Photoplay Magazine
inestimable value for Griffith, who was
doing new things.
That Griffith is a big man as well as a big artist is shown by his sticking to his first photographer; later on he had Bitzer ; he was given anvone or anything he asked for.
But when he quit the Biograph, Marvin quit with him; when he made his own pictures, Marvin worked with him at Hollywood ; and until the day came when the good ship "Take-It-Easy" that was to ''sail forever and forever sail," insisted on driving into the last port with Marvin's sou! its only cargo, it was Griffith who. until those nearer to the dead in kinship could
to him, did all that could be done to make the voyage tree from tempest, and who sent along a fervent prayer that the Great Consignee would make it easy for poor old "TakeTt-Easy."
It was now that the door of Happine— began to swing a bit open for this man combatting Fortune.
He speaks of the days that followed asomething of a glorified life of what in Shakespeare's era were called "Strollers" and in Moliere's "Cabotins "
Griffith found the ways of the movie man paths of plea-antness and of peace. and with much of the panoramic beauty of variety. He strolled in motor cars.
Were you a movie fan in the days ivhen these one-reel Biographs were shown ? Then you will recall Mary Pickford in "A Mender of Nets" (left). "Lena and the Geese " below it; "All on Account of the Milk " with Arthur fohnson at the right and in the center with Dorothy Bernard At the bottom (right) is Blanche Sweet in "With the Enemy's Help. "